O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período. / The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.

This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional religious vocabulary. This unusual relationship between symbolic language of art and the symbols of the Church and the Solidarity accounted for the inherently political nature of dissident art. This thesis will discuss dissident art in context of the contemporary discourses: the discourse of the Communist Party, the Church, John Paul II and Solidarity.

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-07-26T13:38:15Z No. of bitstreams: 1 RAFAELLA DOS SANTOS PORFÍRIO - DISSERTAÇÃO (PPGCS) 2018.pdf: 1134284 bytes, checksum: 7062032f58ac824a086e6e788fae5c9f (MD5) / Made available in DSpace on 2018-07-26T13:38:15Z (GMT). No. of bitstreams: 1 RAFAELLA DOS SANTOS PORFÍRIO - DISSERTAÇÃO (PPGCS) 2018.pdf: 1134284 bytes, checksum: 7062032f58ac824a086e6e788fae5c9f (MD5) Previous issue date: 2018-02-22 / Capes / Este estudo tem como principal objetivo a investigação da complexidade dos códigos de identificação compartilhados a partir de sociabilidades estabelecidas por mulheres lésbicas em um bar de Campina Grande, interior da Paraíba. O estabelecimento em questão, chamado Cantinho JJ, é hoje o único bar da cidade de público majoritariamente composto por lésbicas. Sua história é também inspirada por um circuito lesbiano que existiu entre bares em meados da década de 1970 e 1990 no município, brevemente apresentado neste escrito. As problematizações e conceitos que ensejam nossas reflexões acerca das questões relativas às limitações das categorias identitárias, experiências e sexualidades de nossas interlocutoras partem das noções construídas discursivamente concernentes à produção de verdades sobre o sexo e da determinação da heteronormatividade como regime político, que excede o âmbito das relações sexuais e de gênero. Buscamos apreender em que medida as interlocutoras desse trabalho subjetivam, subvertem e reiteram os ditames da heteronorma. Para tanto, nos ancoramos em provocações de, dentre outros autores, Michel Foucault e Judith Butler. A fim de refletir sobre os espaços abordados e observados no trabalho de campo recorremos aos conceitos de pedaço, trajeto e circuito, cunhados pelo antropólogo José G. C. Magnani. Os dados foram obtidos a partir das interações proporcionadas por observações participantes no Cantinho JJ, registradas em diário de campo, bem como por meio de entrevistas, que, entre outras coisas, apontam, simultaneamente, diversas aproximações e distanciamentos com elocuções teóricas e ativistas, sobretudo no que diz respeito às concepções de identidade e visibilidade. A partir da pesquisa e análise realizadas inferimos que a maneira como o grupo estudado lida com a sexualidade e a visibilidade, diverge, em termos reivindicatórios, dos discursos de alguns lesbofeminismos. Além disso, percebemos as subversões pelas interlocutoras engendradas dentro de contextos inevitavelmente contraditórios, de modo que transgridem os constructos da heterossexualidade e reiteram ditames da heteronormatividade, muitas vezes, em um mesmo movimento. / This study has as main objective the investigation of the complexity of codes of identification and sociabilities established by lesbian women in a bar in the city of Campina Grande, interior of Paraíba. The establishment in question, called Cantinho JJ, is today the only public bar mainly composed by lesbians in the city. Its history is also inspired by a lesbian circuit that existed between bars in the mid-1970s and 1990s in the municipality, briefly presented in this writing. The problematizations and concepts that give rise to our reflections on the questions related to the limitations of the identity categories, experiences and sexualities of our interlocutors are based on discursively constructed notions about the production of truths about sex and the determination of heteronormativity as a political regime that goes beyond the scope of sexual and gender relations. We seek to understand to what extent the interlocutors of this work subjectivate, subvert and reiterate the dictates of “straight” normativity. To that end, we anchored ourselves in provocations by, among others, Michel Foucault and Judith Butler. In order to reflect on the spaces covered and observed in the field work, we used the concepts of piece, path and circuit, coined by the Brazilian anthropologist José G. C. Magnani. The data were obtained from the interactions provided by the participant observation in Cantinho JJ, recorded in field diary, as well as through interviews, which, among other things, point simultaneously to different approaches and distances with theoretical and activist utterances, especially with regard to conceptions of identity and visibility. From the research and analysis carried out, we infer that the way in which the group studied deals with sexuality and visibility, diverges, in terms of claim, from the discourses of some lesbofeminismos. In addition, we perceive subversions by interlocutors engendered within inevitably contradictory contexts, so that they transgress the constructs of heterosexuality and reiterate the dictates of heteronormativity, often in the same movement.

O presente trabalho apresenta o romance MoskváPetuchki, de Venedíkt Eroféiev, e propõe o seu estudo com base na investigação da sua composição temática. Através da tradução do texto integral e de considerações analíticas, a obra é confrontada ao contexto histórico e literário soviético. Desse modo, e por meio da utilização de recursos interpretativos apresentados por Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi e Aleksei Yurchak, entre outros, o romance é considerado enquanto uma parte fundamental da literatura dissidente soviética do período do Degelo e uma resposta à cultura hegemônica do período. / The present work introduces Venedikt Erofeyev`s novel, Moskva Petushki, and proposes a study by means of an investigation of its thematic composition. Based on its complete translation and analysis, the work is confronted with its soviet context, both historical and literary. Thus, and using concepts presented by Mikhail Bakhtin, Boris Groys, Evgeny Dobrenko, Ann Komaromi, Aleksei Yurchak, and others, the novel is thought of as a fundamental part of soviet dissident literature of the Thaw era, and as an answer to the hegemonic culture of the period.

Teodor Mazilu est un dramaturge à succès, poète et romancier roumain, de l’époque communiste. Sa comédie humaine éreinte férocement les parvenus du régime, amoraux et candides. Cette satire plonge ses racines dans les profondeurs du spécifique roumain, à l’instar de Caragiale, Vasile Alecsandri et Urmuz, autant qu’elle s’inscrit dans le courant de l’absurde qui lui est contemporain. Teodor Mazilu est cependant original : il est allé plus loin que Caragiale dans la satire, et refuse d’endosser la philosophie de l’absurde. En revanche, l’absence de toute psychologie des personnages de Teodor Mazilu et le parallélisme de certaines de ses pièces avec celles d’Ionesco permettent d’affirmer que l’histoire du théâtre de l’absurde, ou plus exactement du théâtre d’avant-garde, serait incomplète sans Mazilu. Son théâtre, parfois interdit par la censure, a une lecture politique implicite qui dénonce le mythe de la fausse construction personnelle, qu’elle vienne de soi ou qu’elle soit imposée par les contraintes sociales. La grande originalité de Mazilu, dans la pièce Don Juan meurt comme tous les autres,est de montrer que le Commandeur et Sganarelle peuvent devenir un seul personnage,gardien de prison et de mythe, à la fois. Cette fusion est, naturellement, en rapport avec la société totalitaire, créatrice vigilante de mythes sociaux, où il vivait. La pédagogie de l’auteur est de montrer ainsi le lien de nécessité entre dissidence d’ordre politique et dissidence d’ordre intime. / Résumé en anglais non fourni par l'auteur.

Previous scholarship has long concentrated on the behaviors of belligerents during regime-dissident interactions. While much of the progress in the literature concentrated on the micro-level processes of this relationship, little research has focused on providing a theoretical reasoning on why belligerents choose to act in a particular manner. This project attempts to open the black box of decision making for regimes and dissidents during regime-dissident interactions in order to provide a theoretical justification for the behaviors of the belligerents involved. Moreover, this project argues that there is a relationship between the lower level events of political violence and civil war as the events at earlier stages of the conflict influence the possible outcome of civil conflict. Regimes and dissidents alike are strategic actors who conduct themselves in a manner to ensure their survival while concurrently attempting to succeed at achieving their respective goals. Although all authoritarian regimes are similar in their differences to democracies, there are significant differences between the regimes, which influence the decision making of the regime leader to ensure the survival of the political institution. In addition to influencing the decision calculus of the regimes, the behavior of the regimes impacts the probability of civil war at later stages of the interaction. Conversely, dissidents also perform as strategic actors in an attempt to gain their preferred concessions and outcomes. Although their comprehension of the coercive capacity of a regime is limited, their knowledge of the repressive capacity of the regime provides them with the understanding of their future fate if they escalate to violence against the regime. This project is conducted using two theories on regime and dissident actions and responses, two large-N empirical analyses of regime and dissident behaviors during nonviolent and violent dissident campaigns from 1945-2006, and two historical case studies of Egypt and Syria during the Arab Spring as well as the period preceding the uprising.

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Vi är just nu i en tid av polarisering i det politiska klimatet där fler ämnen och frågor får kontroversiell laddning. Eftersom skolan är en plats där unga ska få möjlighet att utveckla demokratiska kunskaper och förmågor som i förlängningen ska fungera som en motståndskraft mot riskfyllda och odemokratiska beteenden måste ett aktivt arbete med demokratiuppdraget ske. Men Skolinspektionens senaste rapport visar att 21 av 30 grundskolor i landet brister i arbetet med demokratiuppdraget.1 Denna studie avser att undersöka hur bildämnet, genom arbete med kontroversiella ämnen, kan utveckla demokratiska förmågor och färdigheter. Som utgångspunkt i studien undersöks elevers och unga vuxnas upplevelser, erfarenheter och tankar kring skapandets demokratiska potential och arbetet med kontroversiella ämnen i bildämnet. Jag har analyserat deras svar utifrån diskursanalys som tolkningsram samt teorier kring vilka subjektspositioner vi tar i mötet med andra och oliktänkande. Resultaten visar att begreppet “kontroversiellt” är komplext och kontextuellt och något som elever drar sig för att prata om och arbeta med. Detta tycks bero på bristande förmågor att hantera oliktänkande och ingå i demokratiska samtal, främst av en rädsla över vad andra kommer att tycka om en själv. Det blir synligt att det finns ett behov för att arbeta med dessa ämnen i skolan då informanterna uttrycker att det kan främja förmågan att hantera oliktänkande, förbereder en för livet efter skolan och övar en färdighet som alla har lika rätt att lära sig. Det framgår också att bildskapande är ett medium som har hög potential att uttrycka åsikter, väcka känslor och få en att tänka. Under arbetet har jag tagit ett dubbelt perspektiv där jag parallellt med uppsatsskrivningen har filmat reflektioner som väckts. De filmade reflektionerna har sammanställts i videoverket Varför är det svåra svårt? som visades på Konstfacks vårutställning. Idéer som väcktes under arbetet presenterades på Bildpedagogiskt symposium om demokrati och framtid på Vårutställningen på Konstfack 25 maj 2023 som anordnades av Belinda Morén, Katarina Seth, Mari Eriksson, Sandrine Samuelsson och Amanda Sammeli. 1 Skolinspektionen (2022). Skolans hantering av kontroversiella frågor i undervisningen - Inriktning samhällskunskap och biologi i årskurs 8 och 9, publicerad 28 nov 2022, s. 5. / We are currently in a time of polarization in the political climate when more topics and issues are gaining controversial charge. Since school is a place where young people should have the opportunity to develop democratic knowledge and abilities which, in the long run, should act as a force of resistance against risky and undemocratic behavior, active work with the democratic mission must take place. But the Swedish Schools Inspectorate's latest report shows that 21 out of 30 primary schools in the country are failing in their work with the democratic mission.1 This study intends to investigate how visual arts education, through work with controversial subjects, can develop democratic abilities and skills.  As a starting point in the study, students' and young adults' perceived ideas, experiences and thoughts regarding the democratic potential of creative practices and the work with controversial subjects in the subject of visual arts are examined. I have interpreted their answers using discourse analysis as an interpretive framework and theories about which subject positions we take in the meeting with others and dissenters. The results show that the term "controversial" is complex and contextual and something that students shy away from talking about and working with. This seems to be due to a lack of ability to deal with dissent and engage in democratic conversation, mainly out of a fear of what others will think of oneself. It becomes clear that there is a need to work with these subjects because, according to the informants, it can train the ability to cope effectively with dissent, prepare for life after school and practices an ability that everyone shares equal right to learn. It is also evident that image creation is a medium that has a high potential for expressing opinions, waking emotions and making one think. During the process of writing the thesis, I have taken a double perspective where in parallel with writing, I have filmed myself reflecting on the process itself. The filmed reflections have been compiled in the video work Why is the difficult difficult? which was shown at Konstfack's spring exhibition. Ideas that arose during the work were presented at the Visual Arts Education Symposium on Democracy and the Future at the Spring Exhibition at Konstfack 25 May 2023 organized by Belinda Morén, Katarina Seth, Mari Eriksson, Sandrine Samuelsson and Amanda Sammeli. 1 Skolinspektionen (2022). Skolans hantering av kontroversiella frågor i undervisningen - Inriktning samhällskunskap och biologi i årskurs 8 och 9, publicerad 28 nov 2022, s. 5.

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